If one culprit is suspected above all others for encouraging society to become more violent and unfeeling, it is television. This medium, which has become so pervasive in the last 50 years, seems to play an enormous role in the lives of the vast majority of people. But who controls the content which exerts such an enormous influence and to an extent controls the people? What are they doing now and what will they be doing tomorrow? Is violence essential to sell toothpaste and hamburgers? What are our children becoming and what will their children be like? Will every child carry a gun or other weapon just waiting for someone to trigger their violent nature and ignite their preprogrammed anger?

Providing a multicultural analysis of the impact of globalized Western media, this guide specifically deals with sex, violence, and drugs. The text proposes a framework for understanding the political, social and economic problems that face media policy-makers in an age of globalization.

Passengers disco dancing in The Love Boat’s Acapulco Lounge. A young girl walking by a marquee advertising Deep Throat in the made-for-TV movie Dawn: Portrait of a Teenage Runaway. A frustrated housewife borrowing Orgasm and You from her local library in Mary Hartman, Mary Hartman. Commercial television of the 1970s was awash with references to sex. In the wake of the sexual revolution and the women’s liberation and gay rights movements, significant changes were rippling through American culture. In representing—or not representing—those changes, broadcast television provided a crucial forum through which Americans alternately accepted and contested momentous shifts in sexual mores, identities, and practices. Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.

Congressional scrutiny and public criticism of violent television have spanned nearly four decades with little change in the emphasis of those protests. Despite the intensive spotlight cast on broadcasters, few in Congress have really tried to affect any real changes in the amount and nature of violence in television programming. Although there have been many studies conducted on the effects of television, few authors have explored the political, cultural and societal influences in the battles over television violence. This book explores the complexities of Congressional and public scrutiny and the dynamics of communications policy-making in the United States.

Each chapter in this unique volume explores intersections of sex, religion, and media in our society. An interdisciplinary cast of contributors examines a wide variety of themes, including entertainment producers' roles in disseminating sexual and religious content; news coverage of stories about sex and religion; religious conservatives' efforts to influence media coverage of sex and 'values;' and how religious consumers are influenced by and react to sexual content in media.

Sex Scene suggests that what we have come to understand as the sexual revolution of the late 1960s and early 1970s was actually a media revolution. In lively essays, the contributors examine a range of mass media—film and television, recorded sound, and publishing—that provide evidence of the circulation of sex in the public sphere, from the mainstream to the fringe. They discuss art films such as I am Curious (Yellow), mainstream movies including Midnight Cowboy, sexploitation films such as Mantis in Lace, the emergence of erotic film festivals and of gay pornography, the use of multimedia in sex education, and the sexual innuendo of The Love Boat. Scholars of cultural studies, history, and media studies, the contributors bring shared concerns to their diverse topics. They highlight the increasingly fluid divide between public and private, the rise of consumer and therapeutic cultures, and the relationship between identity politics and individual rights. The provocative surveys and case studies in this nuanced cultural history reframe the "sexual revolution" as the mass sexualization of our mediated world. Contributors. Joseph Lam Duong, Jeffrey Escoffier, Kevin M. Flanagan, Elena Gorfinkel, Raymond J. Haberski Jr., Joan Hawkins, Kevin Heffernan, Eithne Johnson, Arthur Knight, Elana Levine, Christie Milliken, Eric Schaefer, Jeffrey Sconce, Jacob Smith, Leigh Ann Wheeler, Linda Williams

"If it bleeds, it leads." The phrase captures television news directors' famed preference for opening newscasts with the most violent stories they can find. And what is true for news is often true for entertainment programming, where violence is used as a product to attract both viewers and sponsors. In this book, James Hamilton presents the first major theoretical and empirical examination of the market for television violence. Hamilton approaches television violence in the same way that other economists approach the problem of pollution: that is, as an example of market failure. He argues that television violence, like pollution, generates negative externalities, defined as costs borne by others than those involved in the production activity. Broadcasters seeking to attract viewers may not fully bear the costs to society of their violent programming, if those costs include such factors as increased levels of aggression and crime in society. Hamilton goes on to say that the comparison to pollution remains relevant when considering how to deal with the problem. Approaches devised to control violent programming, such as restricting it to certain times and rating programs according to the violence they contain, have parallels in zoning and education policies designed to protect the environment. Hamilton examines in detail the microstructure of incentives that operate at every level of television broadcasting, from programming and advertising to viewer behavior, so that remedies can be devised to reduce violent programming without restricting broadcasters' right to compete.

Sexidemic is the first real cultural history of sexuality in the United States since the end of World War II. For a people who supposedly love sex, the author argues, Americans have had no shortage of problems with it. Since the end of World War II, in fact, we've had a contentious relationship with sexuality, the subject a source of considerable tension and controversy on both an individual and societal level. Rather than being a simple pleasure of life, something to be enjoyed, sex has served as a challenging and disruptive force in many Americans' everyday lives for the last two-thirds of a century. Our love affair with sex has thus been a rocky one, filled with bumps in the road that have caused major instability across our cultural landscape. Our individualistic, competitive, consumerist, and anxious national character is both reflected in and reinforced by this "sexidemic," something few have recognized or perhaps want to admit. By charting the cultural trajectory of sex in America since the end of World War II, Sexidemic reveals how the nation's continual woes with sexuality helped make us an anxious, insecure people. The sex lives of many, perhaps most Americans have been in a perpetual state of crisis, a constant source of concern. We've fretted over every dimension of it, with problems in both quality and quantity. With this unhealthy view of sexuality, it was not surprising that we felt we needed a variety of potions and gadgets to make it happen or be pleasurable. In tracing the cultural trajectory of sex in our society, Samuel illustrates our bipolar approach to sexuality: low libido and sex addiction emerged as common disorders, and sex scandal after sex scandal has made headlines, especially over the last couple of years. Only money has surpassed sex as a source of stress for Americans; indeed, sex has come to be seen and treated as a commodity. In this timely work, the author traces the role sex plays in our society, how it shapes us and the world around us, and how we got where we are today in our views, treatment, and practice of sex and sexuality in our everyday lives.